Originally posted by Alain Maréchal
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Orchestral piano
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Originally posted by Brassbandmaestro View PostSlightly different in context here, but some of more longer and sophiscated works of Alkan scream out for orchestra, eg his Overture, concerto and symphony and Les Quatres Ages' Sonate
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Originally posted by Brassbandmaestro View PostSlightly different in context here, but some of more longer and sophiscated works of Alkan scream out for orchestra, eg his Overture, concerto and symphony and Les Quatres Ages' Sonate
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Originally posted by Bryn View PostI think that with the right pianist they already have an orchestra built in.
I really like the piano as an orchestral instrument in general, and feel like it has a pretty wide range of possibilities to offer the traditional orchestra, particularly if used in a nontraditional manner (eg prepared, sound-icon-ised) or for that matter in a "traditional" manner not ordinarily associated with the orchestral piano as we've come to know it in the 21st century, if that makes sense. There seems to be an almost stereotypical use of the orchestral piano in the 20th century that comes down, I think, mainly from Bartók and Stravinsky and Prokofiev, which I think has been pretty well explored at this point.Last edited by kea; 05-10-16, 10:55.
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Another early sighting though Berlioz appears still to be in the lead (if that's the right word):
From Stephen Walsh's Musorgsky and his Circle, discussing Glinka's Ruslan and Ludmilla, "Bayan's gusli - the Russian peasant zither - is represented by piano and harp, a brilliantly successful effect (and probably the first use of the piano as an orchestral instrument rather than as a soloist with orchestra)."
Even putting aside Berlioz's solid right of precedence (Lelio 1832 against R&L's 1837-42), I guess forumistas might disallow the latter's claim completely, either a) because opera orchestras just don't count; or b) perhaps because piano and harp here merely play a duet without orchestral support. I don't possess a recording (and have unaccountably mislaid my full score...) - can anyone clarify?
[It seems clear that Glinka can't have cribbed the idea from Berlioz: see Walsh's comments (ibid. p21 - footnote) on whether G might have known even the Symphonie fantastique before 1840 - unlikely.]I keep hitting the Escape key, but I'm still here!
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Originally posted by Brassbandmaestro View PostSlightly different in context here, but some of more longer and sophiscated works of Alkan scream out for orchestra, eg his Overture, concerto and symphony and Les Quatres Ages' Sonate
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